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the universe, from end to end. Others followed him. They were not aggressive creatures; it was that that made them so terrible to Helen. They merely observed in passing that there was no such thing as splendour or heroism in the world. After the interlude of elephants dancing, they returned and made the observation for the second time. Helen could not contradict them, for, once at all events, she had felt the same, and had seen the reliable walls of youth collapse. Panic and emptiness! Panic and emptiness! The goblins were right. Her brother raised his finger; it was the transitional passage on the drum.
    For, as if things were going too far, Beethoven took hold of the goblins and made them do what he wanted. He appeared in person. He gave them a little push, and they began to walk in a major key instead of in a minor, and then—he blew with his mouth and they were scattered! Gusts of splendour, gods and demigods contending with vast swords, colour and fragrance broadcast on the field of battle, magnificent victory, magnificent death! Oh, it all burst before the girl, and she even stretched out her gloved hands as if it was tangible. Any fate was titanic; any contest desirable; conqueror and conquered would alike be applauded by the angels of the utmost stars.
    And the goblins—they had not really been there at all? They were only the phantoms of cowardice and unbelief? One healthy human impulse would dispel them? Men like the Wilcoxes, or ex–President Roosevelt, would say yes. Beethoven knew better. The goblins really had been there. They might return—and they did. It was as if the splendour of life might boil over and waste to steam and froth. In its dissolution one heard the terrible, ominous note, and a goblin, with increased malignity, walked quietly over the universe from end to end. Panic and emptiness! Panic and emptiness! Even the flaming ramparts of the world might fall. Beethoven chose to make all right in the end. He built the ramparts up. He blew with his mouth for the second time, and again the goblins were scattered. He brought back the gusts of splendour, the heroism, the youth, the magnificence of life and of death, and, amid vast roarings of a superhuman joy, he led his Fifth Symphony to its conclusion. But the goblins were there. They could return. He had said so bravely, and that is why one can trust Beethoven when he says other things.
    Helen pushed her way out during the applause. She desired to be alone. The music had summed up to her all that had happened or could happen in her career.
    She read it as a tangible statement, which could never be superseded. The notes meant this and that to her, and they could have no other meaning, and life could have no other meaning. She pushed right out of the building and walked slowly down the outside staircase, breathing the autumnal air, and then she strolled home.
    "Margaret," called Mrs. Munt, "is Helen all right?"
    "Oh yes."
    "She is always going away in the middle of a programme," said Tibby.
    "The music has evidently moved her deeply," said Fraulein Mosebach.
    "Excuse me," said Margaret’s young man, who had for some time been preparing a sentence, "but that lady has, quite inadvertently, taken my umbrella."
    "Oh, good gracious me!—I am so sorry. Tibby, run after Helen."
    "I shall miss the Four Serious Songs if I do."
    "Tibby, love, you must go."
    "It isn’t of any consequence," said the young man, in truth a little uneasy about his umbrella.
    "But of course it is. Tibby! Tibby!"
    Tibby rose to his feet, and wilfully caught his person on the backs of the chairs. By the time he had tipped up the seat and had found his hat, and had deposited his full score in safety, it was "too late" to go after Helen. The Four Serious Songs had begun, and one could not move during their performance.
    "My sister is so careless," whispered Margaret.
    "Not at all," replied the young man; but his voice was dead and cold.
    "If you would give me your address—"
    "Oh, not